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Tape up our s erco system, If you got,the tack, we've Lost Symphony. Fast Wind speeds have everything to get the got the decks. That will turn you to the selection you want.; finickiest tape connoisseur into your stereo system into a stereo Instead of wading you through ;cartridges and cassettes. Like tape recorder. One that records the Miles that you don't. twin VU meters, twin volume and plays 8-track cartridges. And that's only half the story. controls, twin whatever ought to Or cassettes. Or both. There's also our cassette deck, be twin to give you great stereo " Our 8 -track cartridge deck, Model RS-256US. With a noise recordings and playback. Plus Model RS .803US, is.going to be suppressor switch that makes AC bias to cancel out noise and a legend in its own time. tape sound sweeter than even- distortion. AC erase. And jacks for

Because it's the only one iñ the ( Cub out the sour little hiss - optional single or twin mikes. world with two special controls- tape can pick up. 1 And Fast Go to your Panasonic dealer Auto -Stop and Fast Wind. The Forward and Rewind, automatic and see our 8-track deck, Model

Auto -Stop switch stops the tape shut-off, and pause control. - RS-803US and our cassette deck,

at the end o= the last track: Plus simple pushbuttons that Model RS-256US. They make it ° So you can't accidentally over - leave you more time to make like easy to tape up a stereo system. record and turn Beethoven's a sound engineer.. But choosing between them is Fir"st:Symphcny into Beethoven's In fact, both these decks E something else-again.

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The stereo cassette's °`nat g+Cprofessional sound quality. ~easy operation :11W rt4E epcttE Model RS-256US. ° PANASONI® just slightly ahead bf our time, , 200 Park Avenue, New York 10017,_1 For your nearest Panasonic dealer,: cal 800 243-6001. ljt Conn., 800 042-0665.14 the call. Ask about Models RS-803US and RS -256U3. COLUMBIA STEREO TAPE CLUB now offers you -

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IH Qp WanarCaron ',WIN AINTOP The sT,rllTelllrred' 4ph ° JANIS JOPLIN Synthraiar Á N I Got 1 Dem 01' A Kozmic N Blues u A Again, . Mama! 7'E 181909 181875 180281 181222 184036 180968 REEL-TO-REEL

ISAAC ItLaoo°1 IRON BUTTERFLY STEREO TAPES Frank HAYS,$, The Soft In'ACadda-De-Veda 1 Sinatra Parade nUS A Man ) Ter Alone mate-111. 4Peor 5141.1111 Eaal:lFOe Hot (uttered 1co Soul' t o em . MORI r you now join 182246 181156 180661 170357 FREE-if FOR 0 0 REVOLUTIONARY SELF- BARBRA STREISANBI JOHNNY THREE DOG NIGHT PERCY FAITH THREADING TAKEUP REEL' EACHACH Wkat About Today? CASH Suitable for Framing plus mailing and handling LOVE HEAte Just drop the end of the taoe over 1 this IMO MN QUEN/IN reel, start your recorder, and watch it . if you join now, and agree to buy five UM. A saY 4 "ROMEO thread itself! Unique Scotch* process Rael s,M additional tapes during the coming year, 14y Frew ..d J s JuuET" automatically threads up tape of any Ip Heeds I '1\.:111 ° 'MOVE from the hundreds to be offered -r11a3- thickness, releases freely on rewind. Moaa y UNooWA . Sp4Nne Wheal fcotarMnJ, /cell,' All Pitht 9 0011 e Mae. 181230 176776 179671 181677

Elsctronoc JIMI HENDRIX . TAMMY MANTOVANI'S ASSOCIATI ENGELBERT DONOVAN Music Proeuclron., I.r. THE EXPERIENCE r WYNETTE'S HUMPERDINCK Barabajogal GOLDEN GREATEST MASH Les SWETCFED-OW BACH HITS HITS! GREATEST ahw HITS are : Charmalne Cherish HITS --- : Bicycles: Parole Mate Wert s windy de eelstze Exodus Croutons Orrorte MOAt 10 oom Traffic 10 wL ® 1 10 MOM L !some.NI O t 179291 180166 180323 172411 181636 171504 180349 172254

POMP ANO JUDY COLLI Get fat0.C.SPAR Beéthovenns BEST OF BEE GEES 'CIRCUMS'ANCE :0:tc 2001: Who Knows Teather GREATEST HITS a MassachusettsM 1. Gnat Srgewrc A SPACE ODYSSEY Where The to AT NOME 0 11 Eu6ENE OMMINOY Time Goes ° Andy l rpmtw 9010 Dwcy'e Ira MnMAAMOR.K Philadelphia Orchestra NUS Tlliams uawuo Poor Immitra Little Man is, . Rolla p BERNSIEIN I MORI den tort PNlharmonic 10 MORI II , él 1«rii :1111±CÓ3 172262 183202 183137 173674 177501 167692 183103 183335

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SEND NO MONEY-JUST MAIL COUPON JUST LOOK AT THE FABULOUS SELEC- the special dated form provided ...or ac- TION of best-sellers the Columbia Stereo cept by doing nothing. COLUMBIA STEREO TAPE CLUB, Terre Haute, Indiana 47808 Tape Club is now offering new members! YOUR OWN CHARGE ACCOUNT! Upon Please enroll me as a member of the Club. I've indicated The greatest stars...the biggest hits... we a enrollment, will open charge account below the 5 tapes I wish to receive for only each, and all available in the incomparable in your name. You pay for your tapes $1.00 stereo fidelity of 4 -track reel-to-reel tape! plus postage and handling. Include the self -threading only after you've received them. They will takeup reel FREE. To introduce you to the Club, you may be mailed and billed to you at the regular select any 5 of the stereo tapes shown Club price of $7.98 (occasional Original SEND ME THESE 5 TAPES (fill in numbers) here, and we'll send them to you for only Cast recordings somewhat higher), plus one each! That's dollar right...5 STEREO a mailing and handing charge. TAPES for only $5.00, and all you need to do is agree to purchase as few as five FANTASTIC BONUS PLAN! Once you've My main musical interest 1s (check one) : more tapes during the coming year. completed your enrollment agreement, CLASSICAL POPULAR for every tape you purchase you will be AS A MEMBER you will receive, every four entitled to an additional stereo tape of I agree to purchase five selections during the coming weeks, a copy of the Club's entertaining your choice for only $2.00... or you may year, under the terms outlined In this advertisement ... and informative music magazine. Each choose one FREE tape for every two and I may cancel membership at any time thereafter. If issue describes the regular selections for tapes you buy. I continue, for every tape I purchase I will get an addi- each musical interest... hits from every SEND NO MONEY NOW! Just fill in and tional stereo tape of my choice for only $2.00. . or I field of music, from scores of different mail the coupon today! may choose a FREE tape for every two tapes I buy. labels. Note: All tapes ordered by the If you do not want a tape in any month Club must be played belt on 4 -track Name -just tell us so by returning the selection reel.toreel stereo equipment. (Please Print) Initial Laot Name card by the date specified ...or you may use the card to order any of the other APO, FPO addressees: write for special offer Address tapes offered. If you want only the reg ular selection for your musical interest, COLUMBIA STEREO City you need do nothing - it will be shipped to you automatically. And from time to TAPE time, the Club will offer some special CLUB State Zip tapes which you may reject by returning Terre Haute, Indiana 47808 L 460-1/T1-1 CBS Direct Marketing Services T -404/S70 3

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This is the A -6010U, top of the take a sensing foil if desired. can monitor the sound source TEAC tape deck line. And these But don't look for this system on only. Breaks down sales are just a couple of its sound anybody else's machine. resistance, too: this and the rest industry breakthroughs: Separate heads for record and of the fine line from TEAC turn Unique phase sensing auto reverse playback allow off -the -tape prospects into customers, operates electronically at any monitoring while recording; most browsers into buffs - and chosen point on the tape. Or it can other machines in this price range inventory into supersonic sales.. Exclusive symmetrical control system Dual -speed hysteresis synchronous motor for capstan drive 2 exclusive eddy -current outer rotor motors for reel drive Pause control Unique tape tension control 4 heads, 4 solid -state -amps, A -6010U all -silicon transistors- Independent LINE and MIC input controls TEAC Corporation of America 2000 Colorado Avenue T E A8p Santa. Monica. California 90404

4 recording

MARCH-APRIL, 1970 VOLUME 17, NO. 2

ARTICLES

The Recording Studio: It's Come a Long, Long Way by Robert Angus 10

Do -It -Yourself Light Show by Bob Swatlimore 20

Tape Recording Fun! by R. K. Martinson 22

Equipment Report: TEAC A2050 26

Tips On Caring For Your Tape 28

New Products 24

FEATURES

Tape Reviews 30

Tape Recording: Publisher: Richard Ekstract; Editor: Robert Angus; Circulation Mgr.: Anne Rossi; Music Editor: Erwin Bagley; Technical Editor: Walter Salm; Tape Club News Editor: Marcia Track; Art Director: Evet-ette Short.

Tape Recording (title registered U.S. Pat. Off.) is published seven times a, year (bi-monthly except March -April when monthly) by A-TR Publications, Inc., Richard E. Ekstract, President; Robert N. Angus, Secretary; executive and editorial offices, 145 East 52nd St., New York, N.Y. 10022. Subscrip- tion rates: U.S. and Canada $3.00 for one year, $5.00 for two years, all other countries $4.50 per year. Second class postage 'paid at New York, N.Y. and at additional mailing office. Single copies 60 cents. Entire contents copyrighted 1970 by A-TR Publications, Inc.

5 THE DEPE\ DABLES! TAPE DECKS Dy KENWOOD

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MODEL i(W-4066...3 heads, 3 speeds, low -noise silicon transistors in special recorder playback preamp for high signal-to-noise ratio and low distortion, sound -with -sound. tape monitor switch

t 1 .9~-"'"""' v .on _ ,.t:, =: v o ... - c - .-_.._- .. r V- 1 MOC EL KW -8077 ~4 ... 6 heads, 3 motors, '.a automatic reverse record/playback, automatic repeat playback, solenoid -action .17 micro -touch controls, search system, easy tape loading lever, 5 -step equalizer system, remote MODEL KW -5066...4 heads, 3 speeds, record- control (optional) ing bias adjustment system, 400 Hz test signal oscillator, sound-on-sound/echo recording with level control, noisé filter, automatic shut-off

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with one year membership and minimum tope purchase, six now and one a month for o year; speakers extra. WHY WE GIVE YOU PICK ORE FREE THE FINEST 8 -TRACK STEREO PLAYER FREE We are America's largest all -label, all -artist stereo NEWEST FINEST SOLID STATE AUTOMATIC 8 -TRACK STEREO TAPE CARTRIDGE PLAYERS tape cartridge club. We hope to win you over to the newest, mast advanced, most convenient way to enjoy music in your home, car and office-with trouble - free, compact stereo tape cartridges that play con- $114.95 IOI $79.95 $85.95 tinuously, switch tracks automatically, and last prac- reg. price reg. price reg. price tically forever. They never scratch, warp or wear out. -- They never tangle or break. If you like the system, you'll buy your stereo COMPLETE HOME SYSTEM HOME PLUG-IN SYSTEM DELUXE AUTO SYSTEM tape cartridges from us. You never pay more than regular With built-in amplifier and 2 Pre amplified model. Plugs Complete with easy installa- price. You can pick free bonus tapes immediately, deluxe stereo speaker units into your present stereo rec- tion kit and 2 deluxe flush without waiting. You enjoy up to 50% savings on in handsome walnut cabinets. ord system. Beautiful walnut mount speakers (no trilling THE PLAYER IS FREE. We will grain finish. THE PLAYER IS holes). THE PLAYER IS FREE. special offers. bill you only special mem- FREE. No speakers needed, We will bill you only special To guarantee your continuing interest, the equipment ber's price of $24.95 for plays through your own stereo member's price of $5.98 for must be line enough to give high speakers. check HOME speakers. brilliant fidelity system. check HOME PLUG- 0 check AUTO SYS- performance over many years SYSTEM in coupon. IN in coupon. TEM in coupon. of trouble -free serv- ice. That's why we give you our STEREOMATIC unit FREE. It's the best premium equipment. That's why we are willing to send it to you at no risk or obliga- tion on ycur part. If you like it, KEEP IT. It's yours FREE just for buying stereo tape cartridges you would want to own anyway. If not, return it and your membership is cancelled. You pay nothing and owe nothing. To take advantage of this fabulous new membership offer-complete coupon and mail now. 1 1 SEND NO MONEY '+ JUST MAIL SELECT ANY 6 TO ROCK AND FOLK 4315-SAME TRAIN, DIF. TIME START MEMBERSHIP Merle Haggard (Capitol) E 98 3301-LADY SOUL, 4316-STATUE OF A FOOL, Stereo Tape Club of America Only Stereo Tape Club gives you Aretha Franklin (Atlantic) 6.99 Jack Greene (Decca) 6 98 P.O. Box 2986 Clinton, Iowa 52732 full selection; all labels, all o 3335-ARETHA'S GOLD, 8312-NASHVILLE SKYLINE, artists, all new releases. Aretha Franklin (Atlantic) 6.99 Bob Dylan (Columbia)...... 6.98 Please enroll me as a member and send the FREE o 3307-DOORS, The Doors Stereomatic 8 -track tape cartridge player checked below. POPULAR (Elektra) 6 98 JAZZ I HOME SYSTEM (speakers $24.95) 3337-THE SOFT PARADE, o HERE 1321-FRANK SINATRA'S The Doors (Elektra) 6 98 o 5301-DOWN ON GROUND, HOME PLUG-IN (no speakers) Wes Montgomery (ABM) 6 98 GREATEST HITS (Reprise) 6 98 3326-FOR ONCE IN MY LIFE, BEST OF WES AUTO SYSTEM (speakers $5.98) 1330-A MAN ALONE, Frank O. C. Smith (Columbia) 6 98 5307-THE MONTGOMERY, Sinatra (Reprise) 6 (Verve)...... 6.98 98 3327-BLOOD, SWEAT AND Also send the 6 stereo tape cartridge albums I am DAY IN THE LIFE, o 1331-I TAKE A LOT OF PRIDE. TEARS, (Columbia) 6.98 5316-A Wes Montgomery (ABM) .. ..6.98 buying now to start membership. (Select 6 from list, Dean Martin (Reprise) 6 98 3328-LOVE CHILD, Diana Ross print nunbers below.) 1308-THE BEST OF EDDY and the Supremes )Motown( 6.99 5302-THE ELECTRIFYING ARNOLD, Eddy Arnold EDDIE HARRIS, (Atlantic) 6 98 (RCA) ..6.98 o 3330-THE BEATLES 1 L 2, 1309-LOOK AROUND, Sergio (Apple) 13.90 5305-UP POPS RAMSEY LEWIS, 6 98 Mendes & Brasil 66 (A&M) 6.98 3331-BAYOU COUNTRY, Creedence (Cadet) WITH THE 1333-CRYSTAL ILLUSIONS, S. Clearwater Revival (Fantasy).6.9e 5306-GROOVIN' SOULFUL STRINGS, (Cadet)...6.98 Mendes 8 Brasil 66 (ABM). -6.99 o 3336-SMASH HITS, The Jimi 1311-THE BEST OF NANCY Hendrix Experience (Repr,se).6.98 5311-FOOL ON THE HILL, Sergio Mendes 8 Brasil 66 (A;M).. 6.98 WILSON (Capitol) 6 98 o 3331-CROSBY/STILLS/NASH, Bill me for these. I may pay in 3 monthly installments S312-MEMPHIS UNDERGROUND, 1314-JOHNNY'S GREATEST NITS, (Atlantic) 6 98 if I wish, including mailing and handling. If I am not Johnny Maths (Columbia) 7.98 Herbie Mann (ABM) 6 98 3339-HALLELUJA, 100% delighted, I may return player and cartridges in 1318-ELVIS' GOLD RECORDS, Canned Heat (Liberty) 6 68 5313-SOULFUL STRUT, Young - Holt Unlimited (Brunswick)...6.96 10 days and my membership will be cancelled. I owe Elvis Presley (RCA) 6 98 3 3340-IN-A-GADOA-OA-VIDA, nothing. El 1319-WHEN YOU'RE SMILING, Iron Butterfly (Atco) 6 98 5314-AQUARIUS, Charlie Byrd (Columbia) 6 98 Nat King Cole (Pickwick) 5 98 3341-SHOW, Temptations DAVIS' Name Age 1337-SOULFUL. (Gordy) 6 98 5315-MILES GREATEST HITS, (Colunrsia)...6.98 Dionne Warwick (SCepter) 6.90 3342-THE BEST OF CREAM, Address 1324-PROMISES, PROMISES, The Cream (Arco) 6 96 L SHOW AND Dionne Warwick (Scepter) $6.98 o 3343-SUITABLE FOR FRAMING, CLASSICAL J City State 7ip 1325-HELP YOURSELF, Three Dog Night (Dunhill) 6.98 6301-DR. ZHIVAGO, Original Tom Jones (Parrott) 6 98 o Auto make & year 3344 BECK -OLA, Sound Track (MGM) 7 98 1328-THIS 15 TOM JONES, Jell Beck (Epic) 6 96 6306-CAMELOT, Original Tom Jones (Parrott) 6 96 Phone Spouse Name 3345-FELICIANO/10.23, Sound Track (Warner Bros)....6.98 1326-AGE OF AQUARIUS, o Jose Feliciano (RCA) 6 98 6310-HAIR, Original Bank Branch 5th Dimension (Liberty) 6 98 TER- 3346-2525 (EXORDIUM L Broadway Cast (RCA) 7 96 1332-FOR ONCE IN MY LIFE, MINUS), & o Zager Evans (RCA).6.36 6312-ROMEO L JULIE -TE, Orig. Credit Ref Lot V,kki Carr (Liberty) 6 98 8302-BOOKENDS, Simon L Sound Track (Capitol). 6 98 1316-HONEY, Bobby Goldsboro 7 Garfunkel (Columbia) 98 6313-MIDNIGHT COWBOY, Credit Ref Loc (United 6.98 Orig. Artists) 8314-PETER, PAUL L MOMMY, Sound Track (United Artists). 6.98 Bobby Peter, Paul Mary 1334-TODAY, Goldsboro 8 (W.Bros).6.90 7301-MY FAVORITE CHOPIN, Charge albums above to my credit card. Artists) 6 98 o (United 8315 DARABAJAGAL, Van Cliburn (RCA)...... 6.98 1335-I'M ALL YOURS, BABY, Donovan (Epic) 6.98 Bank.Americard Master Charge Interbank 7303-GERSHWIN RHAFSOOY IN Ray Charles (ABC) 6 98 o BLUE, Lon. Fest. Orch. (Lon.) 6.98 Acct #j Diners Club BEAT OF THE BRASS, 2301-THE COUNTRY AND WESTERN I 7306-TCHAIKOVSKY: SWAN LAKE Herb Alpert 6 1.6. (ALM) 6.98 Fiedler & Boston Pops (RCA)..5.9B MY MAIN MUSICAL INTEREST IS (check one) 2314-WARM, Herb Alpert 8 4301-TIME I GET TO PHOENIX, 7311-SWITCHED ON BACH, Popular Rock The Tijuana Brass (ABM) 6 98 Glen Campbell (Capitol) 6 98 & Folk Show & Classical (Columbia) 7 96 2306-FERRANTE L TEILHER, THE 4303-HANK WILLIAMS o GREATEST o 7313-2001: A SPACE ODYSSEY, In addition to the 6 cartridges I am buying now to EXCITEMENT OF, (Pickw,ck) 5.96 HITS, (MGM) 6 96 Orig. Sound Track (MGM) 6 98 start my membership, I agree to purchase a cartridge 2307-ROGER WILLIAMS 4309-JOHNNY CASH AT FOLSOM 7314-BERNSTEIN'S GREATEST a month during the coming year. (Albums you'll want GREATEST HITS, (Kapp) 9e 6 PRISON, (Columbia) 6 96 HITS, Bernstein.N.Y. Phil. (Col.) 7.98 to buy anyway; thousands to choose from.) 2302-A FISTFUL OF DOLLARS, o 4313-JOHNNY CASH AT SAN Hugo Montenegro (RCA) 6 96 QUENTIN, (Columbia) 6 96 2315-A WARM SHADE OF IVY, 4312-THE SENSATIONAL SIGNATURE Henry Mancini 6 Orch. (RCA).6.98 CHARLIE PRIDE (RCA) 6 98 8304-TO RUSSELL MY BROTHER, 4314-FROM ELVIS IN MEMPHIS, (REQUIRED) 1-232-12- 1 2 o 6 2 Bill Cosby (Warner Bros) 6 98 Elvis Presley (RCA) 6 96 © 1969, Stereo Tape Club of America L 7 Answer these questions, then come 1. Do you see any difference between marijuana and alcohol? 2. Have you ever taken drugs to get high? 3. Do you know anyone who takes drugs? 4. Have you ever experimented with drugs to see what it's like? 5. Do your younger brothers or sisters have access to drugs? 6. If you wanted drugs could you get them easily? 7. Have your parents ever asked you directly, "Are you using drugs?" 8. Is it possible to get high on something in your parents' medicine chest? 9. Do your parents take too many pills? 10. What are the reasons young people take drugs?

When it comes to the drug scene, a lot of parents really don't know what's happening-as you may be able to see by their answers to their questions. You can help them get the facts by sending for the Federal source book "Answers to the most frequently asked questions about drug abuse." When you get Fora copy of the Federal source book: it, give the book to your parents "Answers to the most frequently asked questions about drug abuse" as a gift. You'll have a lot to talk write to: Drug Abuse Questions and Answers about. National Clearinghouse for Drug Abuse Information Box 1080 Washington, D.C. 20013 Name Address City: State: Zip

8 : or j are.s

together and see how far apart you are. 1. Do you see any difference between marijuana and alcohol? 2. Has your child ever been high on drugs? 3. Do your children associate with any drug users? 4. Have you ever experimented with drugs to see what it's like? 5. Do you think your children under 13 have access to drugs? 6. If your children wanted drugs could they get them easily? 7. Have you ever asked your child if he or she uses drugs? 8. Is there anything in your home that your children could get high on? 9. Do you believe you take too many pills? 10. What are the reasons young people take drugs?

If your child's answers disturb you, it's high time you sat down together and had a talk about drugs. We've written a booklet that might help that talk. It's called "Answers to the most frequently asked questions about drug abuse." It won't make you an expert, but it will give you some important answers. For a copy of the Federal source book: "Answers to the most frequently asked Send for the booklet. Read questions about drug abuse" it. Talk with your child. It's write to: Drug Abuse Questions and Answers important-for you both. National Clearinghouse for Drug Abuse Information Box 1080 Washington, D.C. 20013 Name Address p . O advertising contributed for the public good City: State: Zip coe`

9 THE RECORDING STUDIO: II 's Come a

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10 long, long Way By Robert Angus When Thomas Alva Edison shouted "Mary' had a little lamb" into the mouthpiece of his newly -born phonograph one morning in Nov- ember, 1877, the Wizard of Menlo Park .. \ wasn't much concerned about the acoustics of the room in which he made the re- cording. It was enough that the tinfoil cylin- der on which a stylus had impressed the sounds was capable of producing intelligible speech at all - and something of a bonus

-3 that the voice which repeated the nursery rhyme was identifiable as his. Twenty-five years later, when the phono- graph had begun to be accepted as a medium for culture and entertainment in the home, Edison was paying a good deal of attention to the room in which his company was mak- ing recordings, or the recording studio. Be- cause there was no practical way of duplica- ting the Edison cylinder, it was necessary to use from three to twelve machines operating at once to make copies for sale. A singer would bellow at the battery of metal horns over and over again, until he had produced enough cylinders to satisfy orders, or until his voice gave out. Take that otherwise forgotten day in 1902 when George W. Johnson stepped up to such an array in the Edison Laboratories, for ex- ample. Seated in the middle of the large bare room which served as Edison's recording studio was a ten -piece orchestra. Facing them and baritone Johnson was a semicircle of horns arranged so that theoretically each would pick up the singer's words and the orchestra's music with equal clarity (in prac- tice, some machines were closer to one or the other than others, with a resulting over- powering of singer by tuba or vice versa). Edison's technical staff, consisting of a recording engineer and assistant had removed every stick of furniture and every drape from the room, so that all of the sound produced by the musicians could find its way into the horns. Before each performance, the assistant provided each machine with a new cylinder. Then the recording engineer would step up to

11 Reprinted from Electronic Age by permission bedding around the door. Then pianist Sal- vatore Cotton sat down at the keyboard, Gaisberg started his equipment and a young tenor named Enrico Caruso spent the next two hours singing ten of his favorite Italian songs and opera arias. From the recording industry's earliest days, the recording studio - a room in which people make recordings - has been an import- ant part of the process, with engineers taking as much trouble to keep out unwanted noises and to seal in everything that musi- cians produce as artists do in shaping their performances. In recording's earliest days, it was considered enough to prevent outside noises like the traffic in Milan streets from intruding on the recording of a Caruso; or to seal in and reflect into the horns every last note sung by George W. Johnson. i The acoustic process was not an impartial observer of the musical scene. It favored the voices of singers like Caruso and Chaliapin, Bp while making others sound screechy or dull. t. as iSt3 Tubas reproduced wonderfully well, did A +1 triangles. But pianos and violins were another i,,i/st. matter. Recording technicians discovered that, although they couldn't overcome the preju- dices of the acoustic recording system, they could moderate the effects by moving musi- isolate the noisy brasses from the rest of cians around - putting some closer to the the orchestra, and so on. horn than others, providing a miniature band - When Victor began recording the Boston shell to bolster the sound of flagging strings, Symphony Orchestra in a converted church each machine in turn, start the motor and in Camden, N. J. as long ago as 1917, re- recite, "The Laughing Song, sung by George cording engineers had built two igloos of W. Johnson, Edison Records" and stop the plywood. The first housed the trumpets, machine. After he had recorded all of the horns, and trombones and isolated them from spoken announcements and the musicians the recording device; the second housed the were ready, the recording engineer started strings and coupled them directly with the all of the machines simultaneously. The pro- recorder. The idea was to produce as faith- cess, as noted, went on until everybody was ful a likeness of an actual performance in exhausted. Symphony Hall as possible - but the peculi- That same year, recording engineer Fred arities of acoustic recording sometimes made Gaisberg and organizer Alfred Michaelis made it necessary to bring in a tuba and send the one of the first and most important "on - string bass player home early, or otherwise location" recordings, by converting a room tamper with the composer's instrumenta- on the third floor of the Grand Hotel tion. Statz in Milan into' a recording studio. To Until well into the 1960s, the aim of any shut out street noises, the two men hung recording session (and of most high fidelity

blankets across 'the windows and stuffed sound reproduction equipment) was to pro -

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Cm duce as lifelike a recreation of an original from outside sounds, that it be large enough concert as possible. Engineers might argue to house the musicians, recording technicians over whether the ideal spot in the hall was and necessary equipment, and that it have fifth row center, the conductor's podium or no acoustic peculiarities of its own. The idea, first row in the balcony, but generally they during the Big Band era of the 1940s and the agreed that realism was what they were after. progressive jazz period in the early 1950s was And until comparatively recently, a re- to let the musicians do their thing, put it cording studio might be just about anything - down on records (and later tape) with a mini- a sound -dampened hotel room such as those mum of inconvenience and outsidedistraction. in which the late Eli Oberstein recorded the But several things were conspiring to make first country musicians back in the 1920s; this kind of recording studio obsolete. Among an abandoned church, movie house or con- them, the introduction of stereo in 1958, the cert hall; a suite of offices knocked into one rock revolution and its reliance on electronic room large enough to set up recording gear; a instruments, the improvement in the tools radio broadcasting studio or the living room in available to the recording engineer and his a converted brownstone. At first, the require- own growing professionalism. Edison's re- ments were simply that the room be isolated cording engineer didn't have to know much

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t' tl ;.- % ."!" 15.? more than how to set up his cylinder machines difference was that once the 1930 recording and change cylinders at regular intervals. engineer adjusted his dials and lowered the When electrical recording came in with the cutter onto the master lacquer, it was no introduction of the microphone in 1925, the longer possible to make changes. Stereo and recording engineer had to learn something multitrack tape recording made it possible about microphone placement, electrical theory to remix or remaster at any time after and simple techniques like fading and mixing. the musicians had gone home. All of it could be learned on the job, and no Serious musicians were slow to see the formal training was required to become a re- possibilities. But pop artists, and particularly cording engineer at Victor or Columbia then. rock groups realized that a recording no longer Five years later, Leopold Stokowski was exper- need be a document of a live performance. imenting with a multitude of microphones - With stereo and such other electronic gim- in fact, just about one for every member of micks as echo and distortion of electronic the Philadelphia Orchestra. The job of the re- guitars, organs and other instruments, you cording engineer became more complex, and could create an entirely new sound in the his responsibility grew. By twisting a knob, studio - something that would be impossible he could permit the piccolo to dominate the to duplicate in a night club or tv studio. orchestra, or banish the piano soloist to obli- The rock group began making demands that vion. the physical facilities of some converted As microphones improved and more varie- offices or homes or churches couldn't meet. ties became available, an engineer could select Recently, serious musicians such as among them the way a photographer selects conduc- tor -composer Morton lenses, to find just the right microphone to do Gould have been giving some thought to the a particular job. Still, it was experience one artistic possibilities stereo and the new picked up on the job, and no formal train- sounds can offer. Gould's "Venice Audiograph ing was available. Control panels grew more - for Double Orchestra & Brass Choirs", complex, with faders, sliding pots to control which had its debut recently with the Seattle volume, an array of VU meters to indicate Symphony, actually uses the same orchestra twice the signal strength in each microphone, and so on. - musicians play part Then came stereo, and with it new prob- of the score; then the tape is rewound and played back lems and possibilities. Now it was possible while they peform the rest of it. Another to record each orchestral section (and in small Gould work, "Vivaldi Gallery for Divided groups, each instrument) separately as Sto- Orchestra and String Quartet," uses kowski had done. The new control panels stereo's separation as one part of the orchestra, offered first two, then four, eight, 16 and even emanating from one speaker, answers the rest, 20 separate channels, and the recording en- located around the other speaker. gineer could assign one channel to each instrument or instrumental group during the When RCA planned its new recording head- initial recording. Later, in consultation with quarters in New York the company scheduled the artist and repertoire man who produced the erection of four new recording studios. the record and the conductor, the engineer They were, executives decreed, to replace could enhance the violins, subdue the per- existing studios at 24th Street and such cussion, or shift instruments from left to other locations as Webster Hall, in which right at will. This was precisely what Sto- RCA engineers had been recording Broadway kowski had been aiming for in the 1930s. The shows and other large sessions for years. The

15 new studios, the orders specified, should Boethius developed from Pythagoras' theor- contain the latest in equipment, the most up- ies on mathematics and music held that to-date ideas in design and materials. the best room in which to listen to music The stereo boom and the rock phenomenon had dimensicns in a ratio of 1:2:3. In prac- launched a boom in studio building beginning tice, today's engineers find this ratio nearly in 1962 with the opening of RCA Italiana's correct - but not quite. "It creates minor Rome studios and including multi -million acoustic problems like dead spots and minor dollar facilities in London, Hollywood and echoes," says RCA's Stevens. "So we vary the Nashville (among other places) for Columbia dimensions slightly from the basic formula, Records, EMI, English Decca, Warner -7 Arts curve the wall panels and break up the surface and others. The first problem faced by de- to dispel any standing waves." signers was size and shape. Obviously an Another important consideration in studio auditorium suitable for recording "Aida" construction is reverberation time, or what wouldn't do to record The Lighthouse. The musicians call tonal decay. It's the length of former requires space in which to move time a musical tone takes to disappear in a around, space for equipment and that elusive room after the musician has stopped playing, quality, ambience or resonance, which lends and it's what gives a distinctive character to the atmosphere of a La Scala to an opera an opera house, a cathedral or a night club. recording. On the other hand, most rock In an anechoic chamber, for example, a tone groups want an intimate atmosphere in which disappears into the absorptive walls instantly, every sound they make goes directly into the with a reverb time of practically zero. In a con- microphone. cert hall or opera house, it may run two to RCA decided to build six studios in New 21/2 seconds, while in a cathedral it may York - one measuring 30' x 60' x 100', suit- echo and re-echo for five seconds or longer.

able for recording a symphony orchestra, a For most classical music, engineers feel a re - Broadway show or, in a pinch, even an opera; verb time of .5 seconds or even less. a second 27' x 50' x 75' in size aríd designed Until recently, all recording studios had for semi -classics and Big Band sessions; a a fixed reverb time. There were panels which third 24' x 45' x 75' designed for pop groups reflected sound upward or downward, mater- and the larger rock sessions; a more intimate ials which would absorb unwanted sound or rock studio 15' x 27' x 40' and two studios reflect that which is desired. When the new for overdubbing, or adding a vocalist to a studios opened in New York, they boasted of previously recorded orchestra. being the first in which the reverb time Note that though the studios vary in size, could be changed, and other sound character- the proportions remain similar - a ratio of istics altered as desired. In the large studio, 1:2:3. Al Stevens, RCA's manager of facilities for example, the reverb time normally is an and operations engineering, and the man res- exact two seconds. But the ceiling can be ponsible for such other recent studios as those dropped as much as ten feet, cutting the re - in Rome, Montreal, Toronto, Nashville and verb time in half (or, by lowering the ceiling Hollywood, notes that there's nothing new only part way, any fraction thereof). The about the formula; it was developed by the curved wood panels which Stevens had used Greek philosopher and mathematician Pytha- in earlier RCA studios to diffuse sound and goras in the first century before Christ, and "tune" the studios are mounted on hinges in applied to auditoriums by Boethius, a Roman New York. They can be lowered, revealing mathematician and musician. The formula a sound -absorptive back to reduce the reverb

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z time to as little as .7 seconds. Indeed, movable panels are something of a hallmark of the new studios. Coated with sound reflective materials on one side, they absorb sound on the other. Thus, by reversing all of the panels in a studio, the engineer can convert it from a "live" sound suitable for a loud rock session to a comparatively "dead" sound, ideal for a string quartet. By reversing only half, he can achieve some effect in between. Which panels he moves can make a

tl11555t1l0O0I13 difference, too. Studio A, for example, has a

u :! .. . - . . .. - .. pull-out stage around which panels can be

4" . i , á . á . .a j ú, . l .. '1 moved to form a miniature bandshell. Be- - tl CCECI 16 - cause of the noise he makes, recording en- 1¡ gineers frequently isolate rock drummers in a - ii sound -absorbing isolation booth of their own. Instead of using the moving panels which look something like blackboards on wheels R or building a permanent isolation booth, the o recording can new - - i 1i o íi supervisor create one in the .7 17 - 4 4 Air 4T y studios simply by pulling out the right panels. ..I 1,1 4. `.' V "In fact," Stevens boasts, "we can pre - tune each studio in advance, determining ___` what i; :Y.(i results we get when we alter each í `i `i `¡`e panel. Then we can feed the information / )' t, :::1::( into a computer so that somebody in the ' ...... -y 1 1 _ ._ _ ,. .. .! i future, a recording engineer will know in advance the best settings for the rock group

FEED OEL - - he's going to record." Connecting the 20 or more microphones in the studio to the control panel and master tape recorder in the control room are a maze of cables. When companies recorded in converted movie houses or churches, the cables snaked across the floor; and a singer or trumpeter had to tread warily. Nowadays, most of the cables are concealed behind the panels and along the walls. Frequent outlets make it possible to connect microphones just about anywhere in the room - as simple as plugging in a lamp. The control rooms - separated from each studio by a large double -plate glass window - vary slightly in size, through most measure approximately 10' x 20' x 30'. Here the A&R

18 director, the man who supervises the musical balance these against each other to produce and technical aspects of the recording and the exactly the right sound for release on a record, recording engineer work, together with a bat- In addition, mcst engineers use two micro- tery of equipment, assistants, technicians, and phones which are not so sensitive, to pick the occasional interloper. The mammoth con- up the broad view - including the ambience of sole can accomodate as many as 20 micro- the studio. These so-called ambient tracks phone inputs, and can inscribe up to 16 separ- later can be mixed with the musical tracks to ate sound tracks on a reel of 2" magnetic produce a natural -sounding recording. tape. By using microphones which are very Already, pop groups are studying the po- sensitive to sounds only immediately in front tentials of a variable studio, to see how it can of them, the engineer is able to break up the help give them a distinctive new sound. If orchestra or rock group into componert parts history is any guide, the serious musicians and tape each separately. Later, in conjunction can't be far behind. Unlike Edison, they are with the A&R man and the artist, he can concerned about the acoustics of the room.

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19 by Bob Swathmore

DO - IT - YOURS

One Saturday afternoon recently my wife pried me away from the Game of the Week on television to do a little housecleaning. "The attic," she said, "is full of your junk. Go up and get it out of there." So up I went, little knowing that I'd come down with all the ingredients for a do- it-yourself psychedelic light show: my first tape recorder, a beat -up Webcor; a balloon,

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20 ELF LIGHT SHOW

still in good condition; the speaker from a together, there are five pie -shaped slices of 1948 console radio; some camp cord; one plastic - clear, red, blue, green and yellow - sewing machine motor; the slide projector we which I taped together to form a circle (Scotch don't use any more and some bits of colored tape is just fine). The colored wheel called plastic. The effect these ingredients produce for the only original material in the project:

may not duplicate the best discotheques in I used a power saw to cut out a wheel Manhattan; but they're guaranteed to turn roughly one foot in diameter with five spokes

on twelve -to -fourteen year olds of average and a hub. Then I taped my plastic pie into sophistication. Here's how it works. place. The wheel is mounted on a fruit crate When you stretch a membrane (such as a slat with an axle which terminates in the thin sheet of rubber) across a loudspeaker tire off a toy fire truck. The slat is nailed

that's producing sound, the membrane vibrates. to a 4" x 6" base to which I screwed the sew- The speaker cone moves back and forth push- ing machine motor. Connecting the motor ing and pulling it. The thinner the membrane, shaft and the truck tire is a "belt" which came the more movement and the better the sound. from the post office. Actually, it's one of the

I suppose an old inner tube would work, but thick rubber bands the post office is using in we found the balloon, sliced neatly down one our area to hold' the mail, but any rubber belt side and stretched over the speaker, then will do. Simply adjust the height of the fastened to the speaker basket with Scotch slat to make sure the belt is tight. tape and epoxy glue, to be perfectly satis- Now we're almost ready for the show.

factory. I mounted the colored wheel in front of my Once the membrane was in place, we took slide projector, in such a way that the pro- fragments of the broken mirror and glued jector beam passes through the plastic and them carefully to it - pieces far enough apart hits bits of the mirror mounted on the so that they could move freely as the mem- speaker. As the show progresses, the wheel brane moved. To produce movement, simply rotates, changing colors. To obtain the full connect the speaker to the speaker taps in effect, however, you turn off all the lights

your recorder using ordinary lamp cord. I in the room, and play a prerecorded tape on tied mine right around the terminals on the the recorder. It pumps out sound to the recorder's oval speaker, then taped them speaker, which moves the membrane. Flashes with insulating tape. The result is passable of colored light bounce off the mirrors and sound from the recorder plus somewhat muf- dance about the room. It's enough to make fled sound from the radio speaker. us over -30s young again.

I used the colored plastic (goodness only And if you start with a tape by the Rolling knows what it was intended for in the first Stones or Blood, Sweat and Tears, you'll really place) to make a colored light wheel. Al- turn on your kids.

21 TAPE RECORDING

FUN!

by R. K. Martinson

Remember the "Golden Days of Radio"? The resourceful sound effects man was a key figure in the studio. For an evening of tape -recorder fun, try recreating sound effects in the same manner as they were done in the early radio studios. Great for reminisc- ing or rainy -day fun for restless youngsters BRUSH CRACKLING: Work strawsfrom broom between hands and close to mike - or use heavy cellophane. WALKING IN DEAD LEAVES: Stir corn flakes in top of card- board box. BUBBLING BROOK: Blow gently through straw immensed in a water glass. FOOTSTEPS IN SNOW: Grind thumbs in cigar box full of corn- starch or fill two small sacks with cornstarch and squeeze them near mike. CHOPPING WOOD: Tap large jacknife against branch of tree close to mike.

22 ...osos~tí//A CRASH: Use a -;ab. crash box - sfY/ wooden box filled with broken ,L ,'111 glass, light pieces of metal and tin i` ` cans. (Omit glass if children will be using crash box.) CRASHING WOOD: Crush berry box by pushing thumbs through bottom. FIRE: Crackle cellophane be- tween hands or crunch heavy end of bundle of broom straw. FOREST FIRE: Combine above with breaking of berry boxes. ECHO: Face microphone at long fiber wastebasket. Speak from behind mike so voice is projected at wastebasket and comes back to the microphone. HORSES: Coconut shells are held in each hand and tapped in cor- rect rhythm on rug. RAIN: Drop rice on metal. THUNDER: Rattle sheet of tin close to mike. PISTOL SHOT: Puncture balloon near mike.

With a little experimentation, you can create many interesting sound effects of your own. In fact, a number of sound effects are discovered as the result of accidents. If you have any ideas or suggestions for sound effects other readers might find useful please write to TAPE RECORD- ING, 145 E. 52nd St., New York, N. Y. 10022.

23 NEW PRODUCTS

Cassette changer by Nore/co with add-on accessory, clear plastic "circulator" will play

and play and . . . The circulator takes ejected cassettes and flips them over for flip side playback, will go down through the stack and start all over again.

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Dictating -machine version of cassette tape recorder is this Crown CDM-I0 Transcriber. It accepts all standard cassettes, has repeat feature-important for transcribing dictation. It can also be used as desktop mono music recorder. Price: $225 with remote control mike, multifunction footswitch and ear- / phone. /,,-._' rib '.v >oi``s; /l . xÍtiy -"so C1v 4`.: --

Super Dynamic "SD" tape from TDK has ;£b` significantly higher frequency response than / conventional tapes. Magnetic domain size of new cassette rape is less than half the size of conventional tape particle size, making broad frequency range possible. 24 -r 0 0 0 0 Cartridge playback deck by Concord Elec- tronics, model CP-250A features special CONCORD flux field head and a frequency response of 50 to í2,O00 llz. The eight -track cartridge 8 T CM CRRI RIDGE STEREO playback deck is housed in a wood grain finish cabinet and can be used with any home stereo system.

Highly flexible graphic equalizer, Advent's new "Frequency Balance Control" has ten linear slider-type level controls for each channel. Each control adjusts output of singleaudiooctave ± 12 dB. Frequencies from 20 to 20,480 Hertz are covered. Retail price: $200.000.

..oINIC. .. _. C04111.01

Mark Series tape decks from Concord com- prises three models which all have hysteresis synchronous drive motors, integrated cir- cuits in the preamps, three heads, tape and source monitoring and flip -up head cover. Prices for the three units are $230, $260 and $330.

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25 EQUIPMENT REPORT: TEAC A1050

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26 by Walter G. Salm

First impression of the Teac A2050 is one ently grouped in the machine's working area, of awe and reverence. We're not easily over- and the record interlock button is far enough whelmed by tape recorders, but there's some- away from that uni-lever to prevent any double- thing about this Teac that appeals to our jointed gymnastics; you really do need two innate appreciation of fine craftsmanship. hands to start the "record" mode. Maybe it's the machine's impressive size When running, the 2050 is quiet and bus- (god and keep (large) and weight (heavy); the professional - inesslike. The VU meters bless -size size VU meters; the finely polished case; the the designer who put ín those giant rave advance notices by others in the field. meters!) track both recording and playback with. The mood evaporated as we set out to be and are absolutely gorgeous to work that businesslike and to hook up the unit and see There's a fairly standard "pause" control what it could do. Worship period was over and really works, and the "record" switch is a wish now it was mettle -testing time. First thing we bright red square pushbutton. We do a little noticed was the heft of the controls - the they'd make the "on -off" button It's hard single -lever play/fast-wind lever responded with distinctive also - possibly yellow. candelight dinners with a a healthy and comfortable action. You know to find during darn well when this machine is in play forward, favorite gal. play reverse, rewind or fast forward. In playing back prerecorded tapes, the The uni-lever's design leaves some room for 2050 performed magnificiently. Beautiful, improvement, but then we've yet to see a just beautiful. If there was something wrong lever -operated recorder action on any machine with a tape, you'd know about it in no un- that's 100% human -engineered. Some design certain terms. No masking circuit gimmicks concessions inevitably must be made in favor here. By the same token, good tapes come of the machine. The fast wind position is out sounding incredibly crisp, clean and reached by pressing an interlock button down with more dynamic range than we thought on the play/wind lever while turning the whole possible for a machine in this price range thing. Like all "new" tape recorder controls, (S349.50). this one takes a little getting used to, but In tape -to -tape dubs, there was little, if becomes second nature after some practice. any noticeable increase in noise level or any The reversing action seems strange at loss of high frequencies. We tried dubbing first blush. It has a kind of time -delay built some spine -tingling Phase -4 tapes and the ir, and during this time -delay cycle - after dupes were just as spinetingling. Of course, the transport has stopped for a few seconds, any good dubs require two good machines, you start to wonder if it's really going to and the Teac came through beautifully, dub- reverse at all, or if it's all just one big put-on. bing from a Magnecord that cost more than Finally, the Teac emits a throaty "choonk" twice as much. and starts to play in the reverse direction. There's simply no fault that can be found A rather strange feature of the Teac - it with this recorder's electrical characteristics; calls for metal foil sensing tape on the back- ing (shiny) side of the recording tape. This it's that good. Its generous size and weight bit of non -standardization can mean some may scare some, but it's just not meant to be annoyance if you have already owned a foil - a portable. Teac has a reputation for building actuated reversing machine; virtually all other heavy, gorgeous machines and the 2050 is manufacturers call for the foil on the oxide no exception. This heftiness gives it a feeling side. of authority; it's absolute monarch of all it The 2050's electronic controls are all con- surveys, and it certainly gets a hefty vote centric, as they should be. They're conveni- of confidence from us.

27 TIPS ON CARING FOR YOUR

Every year, thousands of Americans become owners of new tape recording and playback equipment. During the early excitement of ownership, the audiophile sets up his new machine and threads the test reel, delighted with the prospect of spending hundreds of leisure hours recording and listening to his favorite sounds. It is also during this period that many audiophiles unknowingly

TREAT TAPE GENTLY KEEP YOUR RECORDER CLEAN

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STORE TAPE UNDER PEOPLE CONDITIONS 2.

28 TAPE

begin making tape handling errors . . .. errors that will result in unnecessary repair and main- tenance expenses, and reduce the ability of costly equipment to deliver optimum performance. Most new equipment owners diligently read and follow manufacturer's directions for the proper care of their new recorder. Few realize that continued optimum performance also de- pends on the correct procedures for the care and handling of magnetic tape.

LIFT TAPE BY HUB ALLOW TAPE REELS TO OR LOWER FLANGE I COAST TO A STOP GENTLY

5. 7

CUT OFF WRINKLED OR DAMAGED TAPE

E.

29 aoe

REVIEWS

Mahler Beethoven sette: wait for a better dub from a Dolby master. Symphony No. 3 in D Minor. Mar- Symphony No. 7 in A, opus 92 and jorie Thomas, Alto; Bavarian Radio Fidelio Overture, Opus 72b. Chicago W.G.S. Symphony Orchestra and Chorus; Tol- Symphony Orchestra, Fritz Reiner, zer Boys' Chorus; Rafael Kubelik, con- conductor. RCA Cassette, RK-1150. Tchaikovsky/Borodin ductor. Open reel. 7'/z ips. Ampex/ $6.98. Deutsche Grammophon DGK 9338. Tchaikovsky: String Quartet No. I $11.95. Music * * * * in D Major, Opus I I . Borodin: String * * * * Performance Quartet No. 2 in D Major. Drolc Music **** * Recording Quartet. Ampex/Deutsche Grarnmo- Performance **** **** phou L9425. 7'/z ips. $7.95. Recording We've heard grand opera on a cas- sette, why not Beethoven? Why not in- Music * * * Gustav Mahler's Third Symphony deed, and perhaps this recording is a Performance * is a symphony of superlatives. The good example of why not. Take a Recording * * * * music is lofty and immerse, while superb performance of a great master- enormously varied. The work is huge piece, remix several times and dub A well known rating magazine and long (92 minutes) and uses not would call this tape a "Best Buy." only the total forces of a symphony It's slightly longer than a single LP orchestra, but calls upon the vocal ,;, record and it contains two gorgeous forces of a full chorus, a boy's chorus quartets that usually each take an and an alto soloist. 7%e, entire record. First the Tchaikovsky - In a way, this is a Spring Symphony %., probably best known for its ecstatic - with the awakening of the many sen- Andante Cantabile, this quartet is by sations of nature in its opening state- far the most popular of the ments.The almost composer's childlike appraisal of 4 o ' :- 11 . , works in this vein. The performance the world in musical terms and the re- b w is just right enough oomph where peated references to the basics of nature - called for, just the right amount of bring this work to a level of earthiness loving restraint in the Andante and ripe fertility that rivals more Canta- bile, in all a sensitive, pointedly pastoral works. thoroughly polished performance. The canvas is a huge one; Kubelik 1 ¡; Possíbily less well known is the and the Bavarian forces have joined to Borodin, until you start listening. Then, produce a recording that is both scin- seemingly from nowhere, starkly fam- tillating and meaningful in the way it iliar melodies appear for this was a captures the most important Mah- - prime source of the music for Kismet. lerian brush strokes. The power and down to a cassette without even so For those of us who prefer the un- sensitivity are there when needed, and much as a breath of a Dolby or low - spoiled original, this is the place to the sonority and balance of the re- noise tape, and you have this re- go. Borodin's native molodic genius corded sound are superb. Mahler fans cording: a mass of hiss, with many infuses every phrase every movement. take note: this is a tape worth owning, dropouts and flutters in crucial spots. The Drolc Quartet acquits itself admir- and a definitive one at that. Best advice about this recording if ably here, too, with the sheer joy of you want W.G.S. Beethoven's 7th on a cas- the music shining through their ex -

30 cellent musicianship. Recorded sound heard suites from this opera that were to make sure that this was a cassette overall is top-notch - certainly one of musically better and easier on the playing. Fantastique! Par excellence! today's outstanding chamber music listener. This one lacks luster and Buy it! tapes. sparkle, and much of Strauss' wit is W.G.S. lost in the sections that ended on the W.G.S. cutting room floor. But if you like Phase -4 spectacu- Fiedler Collection Wagner/Strauss larism, and if you like orchestral Wag- ner (forget about the Strauss), this Venusberg Music Fiedler's All -Time Favorities: Boston Wagner:Overture and tape is certainly a worthwhile addition Pops, Arthur Fiedler, Conductor. Flo - from Tanuhauser. Also, Richard Strauss: to your collection. Suite from Der Rosenkavalier. Erich tow: Martha Overture; Wolf-Ferrari: The Jewels the Madonna, Act Leinsdorfconducting the London Sym- W.G.S. of Ill phony Orchestra. London/Ampex L Dance of the Camorristi; Khachaturian: 75037. Open reel, 7% ips. $7.95. Galop from Masquerede Suite; Saint- Gounod Saens: Bacchanale from Act III of Music Samson & Delilah; Suppe: Light Caval- Performance * * * * Faust highlights. Franco Corelli, Nico- ry Overture; Tchaikovsky: Sleeping Recording **** lai Ghiaurov, Joan Sutherland, Robert Beauty Waltz; Monterde-Calero: La Vir- Massard, Monica Sinclair, Margreta El - gen de la Macarena;Medley Old Timers' Pairing is often a problem, as it is kinds, Raymond Myers; London Sym- here. Programming Wagner with Richard phony Orchestra, Ambrosian Opera Strauss may seem logical to the pro- Chorus, Choir of Highgate School; gram annotater who likes to trace Richard Bonynge, conductor. London/ Strauss's musical development from his Ampex Cassette M31172. $6.95. Wagner period, but it does little to mollify the tape collector who wants Music **** either but not both on one tape. Performance Recording IT It

This recording is not a new one; the full opera was released by Ampex in open -reel a couple of years back as LOW90125. The recording was then and is now one of the exceptional onesavailable on tape. The excerpts are 1 tastefully extracted from the whole, with a dexterity that signi ies expert audio engineering. Nigtt at the Pops. Ope.z Reel. 3-3/4 But the big news here is the incred- ips. RCA TR3-1014. $6.95. ible sound that comes out of that com- * * * pact cassette! We used exclamation Music * points instead of stars because we have Performance just never heard the likes of this coming Recording from an ordinary, non-Dolbyized, iron

o oxide cassette. Disbelief and wonder- It's rather difficult to agree whole- In my event, the recording of the ment were our reactions, and we listen- heartedly with Fiedler's selection of Wagner is especially well done, on all ed ever so carefully for telltale treble music for an entire program; after three counts: the programming is ex- dropoffs, wow, flutter., dynamics, etc. all, he's catering to the popular taste, cellent; the performance supérb; the The tape came through on all counts not the classical palate; so the result Phase 4 recording top notch. The with flying colors. To be sure, there's is not totally satisfying: But there are Strauss, unhappily, suffers from per- some noticeable hiss during low pass- little delicious canapes - favorite short haps inane programming. It's always ages, but the overall recording quality selections and excerpts among the pop- difficult to excerpt just the right and the fantastic dynamic range made ularized trivia: The Saint-Saens Bacchan- amount from the Rosenkavalier; we've us go back to look more than once ale, the Khachaturian Galop, and per -

31 tape

haps a taste of the Suppe. mise frequency response and they tape formulations start coming into The performance is typically Fied- cram some unwanted musical material their own. As superb as this recording ler: technically perfect, with lots of down the collector's throat. The cram- is, it suffers from the usual problems of zest and gusto thrown in to make it ming isn't so bad here. In fact, this limited frequency range and high hiss more appealing. The recording is sur- tape is a real bargain, but the great level common to cassettes. prisingly good for 3-3/4 ips. Another distance both musically and in time The hiss is more of a problem here, bit of amazement - this is the first that separates Rachmaninoff's Second since this take was dubbed from a pre - tape that we've ever seen from RCA and Third symphonies make this a Dolby master. If the masters had been wherein Sequence A ends precisely possibly unhappy coupling. The rol- Dolbyized, this hiss problem would be where Sequence B begins. Somebody licking, joyful second contrasts starkly almost non-existent. in Indianapolis finally decided that with the somber, heavy-handed Third. As matters stand, the music . . . people who own tape recorders are Then there's the very early Fantasy, well Aida was always the absolute human, too. Amazing. stuck in at the end of the first pinnacle of Verdi's artistic achieve- sequence as a filler. Sure it's pretty, ment. The performance is likewise W.G.S. but it really belongs at the end of the superb - as it was on the original program. Ampex/London full-length recording. This tape is a Rachmaninoff double-lengther - For convenience and abridged listen- combining two record albums. Why, ing, this cassette is a worthwhile in- then put the Third ahead of the Symphony no. 3 in A Minor, Opus 44; vestment. Second? Why indeed? Quick first -aid Symphony no. 2 in E Minor, Opus 27; W.G.S. for this tape - rewind in the reverse Fantasy for Orchestra, Opus 7 (the order transposing sequence A and B. Rock). Andre Previn leading the Lon- Shostakovich Previn provides us with good, mature don Symphony Orchestra. Double readings all the way around. The lTgth. RCA RT3-5030. 3-3/4 ips. Symphony No. 10 in E Minor, Opus Second Symphony abounds richly with $9.98. 93. Herbert von Karajan conducting joy and enthusiasm while the Third the Berlin Philharmonic Orchestra. is foreboding - giving a glimpse per- Music Deutsche Granrmophon/Arnpex DGC haps of the composer's last years and Performance **** 9020. 7/z ips. $7.95. Recording * * * his less -than -enthusiastic outlook on life. All in all, a commendable tape, Music **** but with a few Slow -speed tapes like this one do shortcomings - mostly Performance **W* in programming. two things - they invariably compro- Recording ***Y,c

W.G.S. This has easily got to he the most fabulous recording ever of the Shos- Verdi takovich 10th. The fact that it's on tape makes it that much more inviting Aida Highlights. Renata Tebaldi, Carlo and certainly that much more endur- Bergonzi, Guilletta Simionato, Arnold ing. Not exactly a controversial Rus- Van Mill, Fernando Corena and the sian, Shostakovich's music contains Vienna Philharmonic Orchestra, Her- fleeting elements of musically related bert Von Karajan, conductor. Ampex' countrymen - notably Prokofieff and London Cassette M 31025. $6.95. Stravinsky. Also noteworthy are the almost -but -not -quite folk melodies that Music creep in every so often. The music Performance is definitely Russian in character and * * * Recording this performance infuses the symphony with a precision and high degree of It's always difficult to give four musicianship that we've certainly come stars to a cassette's recording quality; to expect from von Karajan. actually,it's impossible until the newer The music is by nature somewhat

32 early 20th Century. Shostakovich was balle's sense of style, her way of vocalism of Caballe. ;ertainly not a revisionist and followed shaping phrases, her dramatic inflec- G. R. the party line here as much as possible. tions, her feeling for Strauss' line But some elements of progressive mod- make her performance impressively ex- Beethoven ernism creep into the music in a de- citing. At times, perhaps, the voice lightful, almost naive incursion. It's is a little too lightweight. (Can any- Wellington's Victory, Op. 91; Mili- not really an incursion; the sym- body ever forget how Welitsch's voice tary March in D Major, Polonaise in D phony is as much a part of this cen- cut like a knife through the heavy or- Major, Eccossaise in D Major, Mili- tury as is the revolution, but it speaks chestration?) But this is a minor cri- tary March in C Major and other mar- of no idealogies. It's just plain, good ticism in a fine portrayal. Surely ches. Wind Instrument Group of the listening in an excellent performance Caballe's is a more girlish and mov- Berlin Philharmonic Orchestra, Hans and recording. Priem-Bengrath, conductor. Deutsche Grammophon/Ampex L 9045. Open W.G.S. reel. 7% ips. $7.95.

*** Strauss Music Performance **** Salome. Montserrat Caballe, Sherrill Recording Milnes, Richard Lewis, Regina Resnik, We have here not Beethoven the James King, London Symphony Or- ., Beethoven the program cestra, cond. Leinsdorf. RCA TR3- great, but 5045, 3-3/4 ips, $10.95. L^1'tir, s annotater. For this is program music of the grossest sort - immensely pop- t was written but Music *** > ular when it first - Performance *** fallen into disfavor now. The Welling- Recording *** 1 ton's Victory along with the collection of marches and other quasi -military per- Salome is an opera combining great music on Sequence B are admirably artistry with sheer vulgarity. On the formed and recorded. Perhaps it is an is music exemplary service, since this is one one hand there marvellous of ing performance than Ni sson's on of those rare recordings that brings to- tremendous strength and intensity, London. gether fragments and short works that like the Final Scene. On the other As Jokanaan, Sherrill Milnes is son- might otherwise go begging. hand there is complexity and virtuosity orous and musical, making tasteful the sake complexity and Thiscollection is very reminiscent of merely for of use of his beautiful voice. James King virtuosity. Strauss' musical ideas may a potboiler potpourri of years past as Narraboth is excellent too. titled, "Marches for Children." The run out, but the awesome technical Regina Resnik does more shrieking music has that kind of quality, and facility is forever present. Rampant than singing as Herodias. But she no doubt would appeal to children. tonal luxuriance, signifying nothing manages to convey the character's It's definitely not among Beethoven's musically. vivid personality. great works, but noteworthy and of Unfortunately, Erich Leinsdorfs Richard Lewis as Herod simply historical and curiosity value. pedestrian conducting makes these falls by the wayside musically, al- in Salome only too obvious. though vocally he is fine. But he contrasts W.G.S. His uninspired, almost pedantic, read- doesn't begin to approach the role's ing really exposes the opera's banali- subtleties. By comparison with Pat- ties. Clemens Krauss (in the perfor- zak's tremendous performance on Rich Baroque Collection mance on Richmond) and Georg Solti mond (even with an aging voice), Lew- Royal Fanfares (in the performance on London) know is' is that of a novice. at Versailles. Marc - how to administer the dynamics .that The sound of this tape ís clear, and Antoine Charpentier: Prelude de Te somewhat conceal the score's defects. the blend of instruments and voices Deum; Andre Danican-Philidor: Mar- But if the conducting is only ade- good. A little more glossiness to the che a quatre Timbales; Jean Bap- quate, the singing of Montserrat Ca- sound might be welcome, however, tiste Lully, Airs de Trompettes Tim- balle more than makes up for it. particularly in this opera. bales et Hautbois; Michel Richard Her performance is magnificent. No All in all, this is a Salome to be Delalande: Symphonies pour les Soup- wonder this is her favorite part. Ca- acquired, if only for the stunning peis du Roy; Francois Francoeur:

33 tape

Symphonic du Festin Royal. Adolf make no one at all happy. The person Music Scherbaum and Stanislav Simek, trum- who wantssomething reasonably sooth- Performance *** pets; Olivier Alain, cembalo. Paul ing is interrupted by the new switched - Recording **** Kuentz conducting the Paris Chamber on sounds of rock; even Brenda Lee's Orchestra. Ampex/Deutsche Grammo- doing it. Once was a time when we No doubt about it - the Phase 4 phon. 9431. L 7Y ips. $7.95. liked her style. .. Those who wart the treatment still lends a certain amount switched -on rock, have to muddle of je ne sais pas quoi - that little cer- *** Music through hours of "square -pegged" mus- tain something that you can't quite **** Performance ic. Either way, both types of listener put your finger on, but certainly adds **** Recording loses and is turned off. life and presence to the recording. There's plenty of the current pop Chacksfield and his orchestra do an Who wants fanfares anyway? An- material on this collection, but the admirable job here, hut perhaps not up swer: just about any baroque music spice of those rock numbers is a bit to the usual level. The music is a collec- lover, and some who call take baroque much for the mood. Best first aid is to tion of those tunes that have helped or leave it. These short takes are dub onto another tape, electronically make the Beatles wealthy over the some of the fancier, more embellished editing out the stuff you don't parti- years-the ones they wrote themselves. and dramatic episodes of some of the cularly want. The music is a fair repre- Overall, it's a good tape, and certainly lesser -known court composers (and at sentation of what's popular today. The worth investigating. least one well known one). This col- selection of the music leaves something W.G.S. lection includes music you're not likely to be desired, and the performances to obtain elsewhere on tape. The vig- are average to mediocre. Recorded nettes are well chosen and delightful. sound is all right for 3-3/4 ips, but Funny Girl Musically, they lack the polish of not hingspecial. Maybe this reviewer has Bach and the sophistication of his just been turned off, but we can't Original Broadway Cast: Barbra Strei- more measured, more disciplined at- seem to get excited over this one. sand, Sidney Chaplin, Jean Stapleton, tack. But delightful they are, and a Kay Medford, Danny Meehan, John worthwhile addition to any collection W.G.S. Lankston. Capitol/Ampex L 2059, 7'/z of royal music. ips, $7.95.

W.G.S. Music **** Performance **** TAPE REVIEWERS Recording **** Popular Collection

American Airlines Popular Program R.A. - Robert Angus What can we say that hasn't al- No. W-66. Three hours of 65 assorted W.G.S. - Walter G. Salm ready been said about Funny Girl? popular selections by such artists as F.R. - Fred Romary This show is already an old-timer and Bert Kaempfert, Brenda Lee, Christo- P.A.V. - Paul A. Votano still fabulous. This re -issue of the ori- ginal cast comes under the aegis of a pher Scott, Rick Nelson, Peppermint C.P. - Cathi Pierro new Ampex arrangement with Capi- Rainbow, Pete Fountain, Carmen Cav- W.S. - William Schroeder allaro, Earl Grant, Sammy Kaye and tol/Angel and this tape is at least as others.Ampex/American Airlines (Dec- good as the originals it was made ca/Coral) W-66. 3-3/4 ips. $23.95. from. There is a bit of a problem with Music *** Frank Chacksfield the first number -a little intermodula- Performance *** tion distortion- but it doesn't show up Recording *** Frank Chacksfield Plays the Beatles again anywhere else. If this tape is Song Book. IncludesGet Back, Michelle, missing from your collection, now's the Why oh why do the programmers Yesterday, Hey Jude, a Hard Day's time to go out and get it. It's thor- for these super -long tapes try to make Night and others. Open reel. (Also cas- oughly delightful, but then you lrave sure there's something for everyone sette 7Y ips. Ampex/London L 74142. to like Broadway shows and Streisand. on the same program? This way, they $7.95. W.G.S.

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'See "A message from the heads of Am-per. Listen." in leading audio magazines, March, 1969.

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